The Aeolus Quartet

Home , Christopher Theofanidis, Michael Tree, Quartet (sculpture), Schumann Quartet

The Friends of Chamber Music of Reading, Inc. in conjunction with Lone Cricket Productions present

The Aeolus Quartet

This concert is presented in memory of Jake Krumholz

Recorded October 26 & 27, 2020 at The WCR Center for the Arts

A painter paints pictures on canvas, musicians paint their pictures on silence. Leopold Stokowski The Friends of Chamber Music of Reading, Inc. in conjunction with Lone Cricket Productions present

The Aeolus Quartet sponsored by Dr. & Mrs. Stuart Cohn and Pat & Len Pietruszynski This concert is presented in memory of Jake Krumholz

Nicolas Tavani, violin Rachel Kitagawa Shapiro, violin Caitlin Lynch, viola Alan Richardson, cello

String Quartet in C-sharp Minor, Op. 131 ...... Ludwig van Beethoven (1770–1827) I. Adagio, ma non troppo e molto espressivo II. Allegro molto vivace III. Allegro moderato IV. Andante, ma non troppo e molto cantabile V. Presto VI. Adagio quasi un poco andante VII. Allegro

This concert was funded in part by a grant from the William Davidson Foundation

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The Friends of Chamber Music of Reading, Inc. receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency.

~The Artists~

Praised by the Baltimore Sun for combining “smoothly meshed technique with a sense of spontaneity and discovery,” the Aeolus Quartet is committed to presenting both time-seasoned masterworks and new cutting-edge works to widely diverse audiences with equal freshness, dedication, and fervor. Formed in 2008, the Quartet is comprised of violinists Nicholas Tavani and Rachel Shapiro, violist Caitlin Lynch, and cellist Alan Richardson. The Aeolus Quartet has been awarded prizes at nearly every major competition in the United States and performed across the globe with showings "worthy of a major-league quartet" (Scott Cantrell, Dallas Morning News). Mark Satola of the Cleveland Plain Dealer writes, “The quartet has a rich and warm tone combined with precise ensemble playing (that managed also to come across as fluid and natural), and an impressive musical intelligence guided every technical and dramatic turn.” They were the 2013-2015 Graduate Resident String Quartet at the Juilliard School, and they currently make their home in New York City. In addition to extensive touring throughout the United States in the 2019-2020 season, the Quartet will be featured at the Artosphere Festival hosted by the Walton Arts Center, as well as in the premiere of a new chamber opera at NYC’s Prototype Festival. They will appear in concert at Cornell University, the Austin Chamber Music Festival, the Santa Barbara Museum of Art, and NYC’s Bohemian National Hall, among others. The Aeolus Quartet has released two critically acclaimed albums of classical and contemporary works through the Longhorn/Naxos label which are available on iTunes, Amazon, and major retailers worldwide. Part of an ongoing series entitled Many-Sided Music, these albums promote the diversity and breadth of works by American composers. The next album in the Many-Sided Music series is slated for release in Spring 2020. The Aeolus Quartet’s numerous honors include Grand Prize at both the Plowman Chamber Music Competition and the Chamber Music Yellow Springs Competition, as well as First Prize at the Coleman International Chamber Ensemble Competition. They were also prizewinners at the Fischoff International Chamber Music Competition and the International Chamber Music Ensemble Competition in New England. The Austin Critics' Table named the Aeolus Quartet their 2016-17 "Best Touring Performance” for Rambunctious, a collaboration with Spectrum Dance Theater. The Quartet has performed across North America, Europe, and Asia in venues such as Alice Tully Hall, Weill Recital Hall at Carnegie Hall, Reinberger Recital Hall at Severance Hall, The Library of Congress, Renwick Gallery, St. Martin-in-the-Fields, and the Shanghai Oriental Arts Center. In addition, the quartet was recently featured on the hit Netflix show The Defenders. Dedicated to sharing the joy of chamber music with audiences new to classical music, the Aeolus Quartet has been widely recognized for their highly creative and engaging outreach programs. In the 2015-2016 season, the Quartet was the recipient of a CMA Residency Partnership Grant. In recognition of the Aeolus Quartet’s artistic achievement, CMA awarded the project with the title of “Guarneri Quartet Residency” for 2016. The residency promoted engagement with multiple interactive performances at Duke Ellington School for the Arts, the Sitar Arts Center, and George Washington University. The Fischoff National Chamber Music Association awarded the Quartet their 2013 Educator Award in acknowledgment of the positive impact their educational efforts have had in diverse communities. Additionally, they were awarded the 2012 Lad Prize which culminated in large-scale community engagement work, performing in the Stanford area, and a masterclass residency at Stanford University. The Aeolus Quartet has also served as teaching faculty at Stanford University's Education Program for Gifted Youth (EPGY), the Austin Chamber Music Workshop, Point CounterPoint, and the Chloe Trevor Music Academy. Working in collaboration with the University of Texas through the Rural Chamber Music Outreach Initiative, the Quartet has presented educational programs and performances in communities throughout the state of Texas. Through their multiple residencies with the Chamber Music Society of Detroit alone, the Aeolus Quartet has reached over 18,000 students in the greater Detroit metro area. The Aeolus Quartet has been fortunate to collaborate with many of today’s leading artists, including Renee Fleming, Ida Kavafian, Joel Krosnick, Peter Wiley, Michael Tree, and Paul Neubauer. They studied extensively with the Juilliard, Guarneri, St. Lawrence, Cavani, and Miró Quartets. Other mentors include Peter Salaff, Donald Weilerstein, Itzhak Perlman, and Mark Steinberg. Members of the Quartet hold degrees from the Juilliard School, the Cleveland Institute of Music, the University of Maryland, and the University of Texas at Austin. The Aeolus Quartet is the ensemble-in-residence with Musica Viva NY and the New Orchestra of Washington (DC). Thanks to the generosity of the Five Partners Foundation, the four members play on a set of instruments by famed Brooklyn luthier Samuel Zygmuntowicz. The Quartet is named for the Greek god Aeolus, who governed the four winds. This idea of a single spirit uniting four individual forces serves as an inspiration to the members of the Aeolus Quartet as they pursue their craft.

Nicholas Tavani, violin Violinist Nicholas Tavani was born in Arlington, VA, and debuted in Washington, D.C.’s Gaston Hall at the age of eight. The Cleveland Plain Dealer recently praised him as “ an alert and sensitive artist, with beautiful tone and exquisite phrasing,” and the Washington Post has hailed his “brilliant musicianship.” As a chamber musician, recitalist, and concerto soloist, Mr. Tavani has performed extensively to critical acclaim in the United States and around the world. As first violinist of the Aeolus Quartet, he was a winner of the 2011 Plowman International Chamber Music Competition, the 2011 Yellow Springs Chamber Music competition, and the 2009 Coleman International Chamber Music Competition. He is also a laureate of the Postacchini and Kingsville International Violin Competitions. Mr. Tavani serves as first violinist in the Aeolus Quartet, who are currently Artists in Residence at Musica Viva New York. In addition, he serves as concertmaster of the New Orchestra of Washington and is a member of the Mark Morris Dance Group Music Ensemble and the Smithsonian Chamber Players. A passionate advocate of new music, Mr. Tavani has premiered and recorded several works by living composers, including Samuel Adler, Alexandra Bryant, Christopher Theofanidis, Missy Mazzoli, and Dan Visconti. His discography includes four albums with the Aeolus Quartet in wide release on the Azica, Naxos, and Innova labels. Performances with orchestra include the Aspen Festival Orchestra, Prince William Symphony, New Orchestra of Washington, Little River Symphony, Masterworks Festival Orchestra, Austin Chamber Music Festival Orchestra, CIM Chamber Orchestra, and many others. Collaborations include Renee Fleming, Peter Salaff, Jon Kimura Parker, Daxun Zhang, and Michael Tree. Mr. Tavani’s current season includes recital and concerto performances across the US, extensive touring across the US with the Aeolus Quartet, and solo performances with the Mark Morris Dance Group and Spectrum Dance Theater. In addition, he will serve as concertmaster for the Artosphere Festival Orchestra and the Mozaic Festival Orchestra. As a committed educator, Mr. Tavani has served on the faculties of the George Washington University School of Music, Point CounterPoint Music Festival, the MasterWorks Festival, and the University of Maryland High School Music Academy. He served as teaching assistant to the Juilliard Quartet at the Juilliard School, where he studied with Joseph Lin and Ronald Copes, and the Aeolus Quartet was 2013-2015 Graduate Quartet in Residence. Mr. Tavani is currently completing his doctoral work under the mentorship of David Salness at the University of Maryland. An alumnus of the Cleveland Institute of Music, Nicholas studied violin with William Preucil and chamber music with Peter Salaff and the Cavani Quartet. In addition to a Bachelor of Music in Violin Performance from CIM, Nicholas also studied mathematical physics at Case Western Reserve University.

Rachel Kitagawa Shapiro, violin A native of Reading, PA, Rachel Kitagawa Shapiro began playing the violin at age four. She has since performed in such venues as Carnegie's Weill Recital Hall, London’s Wigmore Hall, and across the United States, Canada, Mexico, the United Kingdom, Norway, Germany, the Czech Republic, the United Arab Emirates, India, China, South Korea, and Japan. Founding member and second violinist of the critically acclaimed Aeolus Quartet, her playing has been praised by Mark Satola of the Cleveland Plain Dealer, “in a beautifully balanced interlude wherein the second violin dances attendant to a heartfelt melody… Rachel Shapiro [was] outstanding here.” Collaborations include a performance on the Metropolitan Opera stage alongside Renée Fleming, as well as appearances with Michael Tree, Jon Kimura Parker, the Juilliard Quartet, and the Miró Quartet. In demand as an ensemble player, Ms. Shapiro has performed with Philadelphia Orchestra members on a subscription concert for the Philadelphia Orchestra's Chamber Collection series. She has appeared with the Mark Morris Dance Group Music Ensemble, A Far Cry, and the Orpheus Chamber Orchestra. Ms. Shapiro has served as Professorial Lecturer at the George Washington University, in addition to being on faculty at Stanford University’s “Why Music Matters” Educational Program for Gifted Youth, the University of Maryland’s High School Music Academy, and the Austin Chamber Music Center Workshop. In 2019, Ms. Shapiro was invited to be a guest teaching artist at the Brooklyn High School of the Arts. As teaching assistant at the Juilliard School, the University of Maryland, and the University of Texas, she coached undergraduate and graduate student ensembles and taught private lessons. Ms. Shapiro holds an Artist Diploma from the Juilliard School, a Doctor of Musical Arts from the University of Maryland, a Master of Music from the University of Texas at Austin, and a Bachelor of Music from the Cleveland Institute of Music. With a minor in English Literature, Ms. Shapiro is an avid writer and has been published in Strings magazine. Ms. Shapiro performs on a 1991 Samuel Zygmuntowicz violin graciously on loan to her through the Five Partners Foundation.

Caitlin Lynch, viola Violist Caitlin Lynch has gained recognition and critical acclaim as an artist who enjoys a vibrant and diverse musical career. Having performed in fourteen countries on five continents, Ms. Lynch’s performances include memorable collaborations with artists ranging from Itzhak Perlman to Radiohead’s Jonny Greenwood and Bjork. She has performed with members of the Tokyo, Cleveland, Juilliard, Cavani, and Aeolus String Quartets, members of the Weilerstein Trio, and with Alarm Will Sound, A Far Cry, Atlanta Symphony, and the Cleveland Orchestra. Ms. Lynch performs regularly with the American Contemporary Music Ensemble, Wordless Music, and Metropolis Ensemble. She has appeared as soloist with numerous orchestras, whose tours have featured her concerti performances across North America and Europe. Ms. Lynch has performed at major venues across the globe, including Carnegie Hall, the Sydney Opera House, Lincoln Center’s Avery Fisher and Alice Tully Halls, National Center for the Performing Arts (Beijing), NYC’s Bargemusic and Le Poisson Rouge, Sapporo Art Park (Japan), Jerusalem Music Centre, Miami’s New World Center, Boston’s Isabella Stewart Gardner Museum, Cleveland’s Severance Hall, and the Metropolitan Museum of Art’s Grace Rainey Rogers Auditorium, among others. Summer festival performances include the Lincoln Center Festival, Chelsea Music Festival, Festival Mozaic, Methow Valley Chamber Music Festival, Aspen Music Festival, Perlman Music Program Chamber Music Workshop, and the Pacific Music Festival’s Quartet Program. Ms. Lynch is the Artistic Director, founder, and violist of Project Chamber Music: Willamette Valley. PCM is an innovative chamber music series and educational outreach program created to celebrate music and community in Oregon’s Willamette Valley. In addition to bringing chamber music concerts of the highest caliber to the Willamette Valley, PCM provides workshops free of charge in the Salem-Keizer School District for orchestral students of all ages, collaborates with students in public concerts, and raises funds for local music education. Ms. Lynch has been Artist in Residence at Cleveland’s Judson Manor senior living community, an ongoing intergenerational relationship that has been lauded by CBS and NBC News, The Plain Dealer, and the New York Times. A passionate teacher, Ms. Lynch is a faculty member at Third Street Music School and the New York Youth Symphony Chamber Music Program. Additionally, she has taught in the public schools of Harlem as a Morse Fellow at The Juilliard School, traveled to South America to teach masterclasses and orchestral sectionals for El Sistema’s Sinfonia por la Vida, and worked as the chamber music teaching assistant at the Perlman Music Program Summer Music School. She has been featured as a Visiting Artist in a teaching and performance residency at The College of William and Mary, and served on the faculty at Stonybrook University’s Summer Chamber Music Camp. Ms. Lynch is a graduate of The Juilliard School, where she was a recipient of the prestigious Morse Fellowship, and the Cleveland Institute of Music, where she was honored with the Robert Vernon Prize in Viola. She also studied at the Conservatoire National Supérieur de Musique et de Danse de Paris. Ms. Lynch performs on an 18th century viola made by English luthier William Forster. Her performances can be heard on NPR, WQXR (NYC), WCLV (Cleveland) radio, as well as PBS, New York Public Media’s WNET, and the Japanese Broadcasting Corporation’s NHK.

Alan Richardson, cello New York based cellist Alan Richardson maintains a packed touring schedule as a member of the award winning Aeolus Quartet. Raised in Richmond, Virginia, Mr. Richardson went on to earn a BM from the Cleveland Institute of Music, an MM from the University of Texas, and an Artist Diploma from the Juilliard School. His primary mentors include Melissa Kraut, Richard Aaron, Joshua Gindele, Evelyn Elsing, Joel Krosnick, Neal Cary, and Jim Wilson. Mr. Richardson has performed across North America, Europe, and Asia, in halls such as Carnegie, Severance, Wigmore, Seoul Arts Center, and Shanghai Oriental Arts Center. He has performed with acclaimed artists including Renée Fleming, Ángel Romero, Joel Krosnick, Michael Tree, Sam Rhodes, Nina Lee, Jon Kimura Parker, Pedja Muzijevic, and the Miró, Juilliard, and American String Quartets. In addition to his work with the Aeolus Quartet, he has performed as a guest with the NYC based chamber collective Decoda, and with the Mark Morris Dance Group. Mr. Richardson currently holds a position of Professorial Lecturer at the George Washington University. He has served as a teaching assistant at The University of Texas, The University of Maryland, and The Juilliard School. Mr. Richardson has served on the teaching faculty of the Austin Chamber Music Center, Corcoran Chamber Music Institute, Point CounterPoint, and the University of Maryland High School Music Academy.

String Quartet in C-sharp Minor, Op. 131 ...... Ludwig van Beethoven

I saw recently a striking illustration by William Blake. A woman in flowing robes with arms extended reaches and glances upwards, floating, suspended in air, yet is shackled by her ankle to the ground. She is the personification of the soul, reaching toward heaven whilst tied to the earth. It seemed to me a perfect visual manifestation of the opening figure of Beethoven’s C-sharp minor string quartet, Op. 131, which despite an upward stretch finds itself forcefully pulled back down, a moment marked by almost suffocating heaviness. It is an extraordinary theme, starting what is an extraordinary movement by any measure. Of all Beethoven’s works, this is the only one to begin with a fugue, a rhetorical construction evoking the rigors of formal debate. In its weaving together of four voices all declaiming the same prophecy it conjures the sense of the chorus in a Greek tragedy. If this movement is indeed, as Wagner wrote, “the most melancholy sentiment ever expressed in music,” perhaps it is a sadness born of the burden of prophecy. In his novel The Story of Forgetting Stefan Merill Block writes, “Could there be anything more sad and more lonely than remembering what terrible things the future will bring?” In this quartet in C-sharp minor only this opening movement and the final, seventh, section are in that key. Yet the gravity of this fugue makes it seem the vantage point from which all else will be seen, against which all else will be judged, and to which, there is never any doubt, we will be compelled to return. In its short denouement from a wrenching climax reminiscent of the Heiliger Dankgesang of Beethoven’s Op. 132 (written earlier despite its opus number) the movement comes to rest, or rather to hover on a rising c-sharp octave, hollowed of all passion. Now we have the first transformative portal of the piece, for this is a work in seven sections, each connected to the last through some reconfiguring of the imagination. Here Beethoven takes that C-sharp octave and simply, gently lifts it up a minor second, to D. In so doing he trades a key with little natural resonance in a string quartet (due to tuning and natural overtones) for one that rings freely. Light is admitted and dance enters with it, albeit with hesitations and interruptions. And having experienced the distance traversed in finding this place we can appreciate that this alternate world, one where we can participate in life and see the reflection of the heavens above in our worldly joys, was right next door all along. It is no accident that this D is also the uppermost pitch of the cataclysmic chords at the climax of the first movement. This joy is real and vital, but is also a temptation which Beethoven feels we must ultimately relinquish in order to discover our true strength and dignity, as we will see at the close of the work. The brief recitative section that follows is a formal pointing device, pulling us outside the work. Reminiscent of the oracular feel of the opening fugue, it also serves to refocus our attention on the set of variations to follow, the intimate heart of the work. The theme of these variations is vulnerable and weightless, split between the two violins. This way of writing, in hocket, contrasts extremely with the opening of the piece, also shared by the violins. There each offers a full revelation, a fait accompli, but now there is an ongoing sense of discovery, the gentlest possible game of tag. (And games galore will take over the piece soon enough.) The very first downbeat of the movement is silent; the subsequent ones are lightened just where the music would naturally be heaviest so that the theme levitates. This is a pattern already set in the previous recitative, but here the missing weight, rather than lending its emphasis elsewhere, evaporates completely. The variations take many forms, sometimes ornate and fanciful, but often tending toward comedy or farce, almost as if avoiding the embarrassment of turning sentimental. Eventually, just after a variation featuring bucolic open drones, left off in mid-thought, our gaze is lifted anew toward the heavens and the still point of the piece is reached. The music is distilled to the merest sotto voce oscillation, and it is as if the faintest breath, the subtlest zephyr were somehow touching the very core of who we are. Poet Albert Goldbarth writes, “There have been nights, admit it, when you’ve thought you heard your name in the air, your name being sung, a recognition that you’re a part of the star-resplendent sky and the musty vapors of earth — they know who you are, you owe them for this special focus.” Strangely, as this music unfolds, intimate and luminescent, disruptions begin infiltrating the texture. As in the Blake image there is something pulling us away, disallowing absorption into the beyond. This adamant refusal to dissolve into the empyrean will appear several more times in the piece and is perhaps what gives the piece as a whole its strength. There are remarkable transformations still to come, with cadenzas, the theme becoming anxious and stuck only to erupt in glittering trills and burbling cello figuration, but it all evaporates in the end, weightless again, slipping through our fingers. We are not meant to dwell on this for long, as the cello breaks the silence with a brusquely teasing figure. This four-note motif gives birth to a scherzo that now celebrates not the supernal but rather the embodied joy of play, the naive games that seem to be common to all cultures. Here we have the lofty Beethoven playing peek-a- boo, catch, and tag and enjoying fake-outs and silly voices. The movement ends with an eruption of delight that is immediately reinterpreted on a new pitch, a forceful turning of the head to regard more weighty issues we have ignored long enough. The sixth section has sometimes been seen as an introduction to the final movement, but while it is in a key that will lead us directly back, at long last, to C-sharp minor it is in no way an emotional preparation. This material in this short movement might easily blossom into a 20-minute slow movement in some late Romantic symphony. The depth of yearning, the straining upward and long, mournful sighing downward all make it seem the apotheosis of Romanticism and individual subjectivity. As wrenchingly beautiful as it is, though, its primary meaning in this piece seems to be as something truncated, something to be denied and cast aside. And thus it is, in a brutal manner with a collapse of the lush, widespread texture into a single unison C-sharp. It is as if we have now passed the event horizon of the home key and are inexorably pulled back with no further real possibility of escape. There is a strength and a defiance to the writing which seem an insistence on Beethoven’s part that despite our frailty and foibles there is a dignity in humanity and in our capacity to create meaning that holds its own against the temptations of other worlds. It is an assertion of the primacy of the will. The next theme to appear makes sense of the entire journey, for it is both a return and a transformation. Instantly recognizable as a version of the fugue theme that opens the work, sharing its exact rhythm with its pitches slightly shuffled so as to lean toward noble resignation rather than striving, its arrival brings a sense of inevitability. What the chorus has proclaimed at the start has come to pass; Fate has seen to that necessity. There are evocations of the beyond again in the second theme of the movement, a radiant cascading scale figure followed by a huge leap upward, and in fluttering upward scales in D major, a reminder of the second movement, but these cannot divert the course of the piece from its preordained path. Many have found the sudden turn to C-sharp major in the last moments of the piece puzzling, as it is too abrupt and short to convey a change of heart and truly establish the major mode (although it has been explored earlier in the movement). It is known from Beethoven’s sketches that he was originally planning a further transformation, a softening of the opening theme into major, an idea that eventually found its full flowering in the sublime slow movement of the F-major quartet, Op. 135. That movement seems the epitome of consolation and peace. Here Beethoven, rather than aiming for consolation, shows only the reflection of the heavens in the eyes of the man whose feet are firmly planted on the earth, strong and proud in his humanity, holding an equally vast universe within.

Note by Mark Steinberg

Remembering Jacob Krumholz

Jake was a man larger than life with a twinkle in his eye and wonderful sense of humor. He always loved fixing and making things while growing up in Brooklyn New York. The first woodworking bench made in his youth is in his woodworking shop to this day. An early interest in music and clarinet lessons almost led him to study music at the Juilliard School. However, pragmatism ultimately led him to degrees in industrial engineering and business. He did not give up music; among his great thrills during college was participating in the University of Michigan’s renowned marching band. Service in the military interrupted his schooling during World War II but eventually he moved to Reading to join his father in managing a lingerie factory. Several reincarnations found him next a retail merchant (in the heyday of the Reading outlets) and thereafter an award winning custom home-builder. Jake passed away in the fall of 2015. He and William Davidson were among four lifelong friends from the University of Michigan. Davidson, through his prestigious self-named Foundation, awarded the FOCM a generous grant at the suggestion of Jake’s widow Arlene. As a way to meaningfully honor his love of music, each season thereafter we have dedicated one concert to Jake’s memory.

With many thanks to our 2020-2021 Patrons

Benjamin F. Souders Society Ellen & John Shapiro ($2,500 and above) David Thun Thomas B. Souders, M.D. Louise W. Souders Mary Alice Wotring Pennsylvania Council on the Arts Ruby The Presser Foundation ($250–$499) Reading Musical Foundation Maria Braun & Family Joan & David Cruzan Diamond Riva & Tony DiCintio, in memory of ($1,000–$2.499) Jeri Kozloff Dr. & Mrs. Stuart Cohn Marc & Marcia Filstein Q & Stan Grabias Radene Gordon-Beck Meir & Haia Mazuz Kenneth W. & Pauline L. Betsh Pat & Len Pietruszynski Jeff & Cheryl Dorko Dr. & Mrs. Ronald Rhein, in memory of Terry & Ginny Hand William H. Lord, M.D. Lynn & Leslie Hart Gerard & Christine Helinek Emerald John & Priscilla Hirschenhofer ($500–$999) Eve & Dan Kimball, in memory of Anonymous William H. Lord, M.D. Mr. & Mrs. Bruce P. Bengtson Anton & Diana Kleiner Blue Mountain Foundation Nancy Knoblauch Barbara Lord, in memory of Charles & June Dunn William H. Lord, M.D. Shuji Kawata Paul & Solange Mintz David M. Kozloff Janet Neel Judith Kraines & Dr. Neil Hoffman Janet J. Peters Jim & Peggy Mathis Penelope Proserpi Patricia Perfect, in memory of William H. Lord, M.D. Larry A. Rotenberg Suzanne Palmer, Esq. Helene & Henry Singer Cocol Bernal & John Pankratz Jaap Van Liere Margaret Patch William & Susan Weiser, in memory of Madeline Atkins Enikö & James Russell Thea & William Yeich Sapphire Jeffrey & Jane Sprecher ($125–$249) R. A. Svotelis Gary & Linda Adlestein Sidney B. Watts Drs. Richard & Mary Jane Androne John & Mary Jo Weishampel Marc & Martha Aynardi Elizabeth C. Wolfe Harriet Baskin Rev. Virginia M. Biniek Amethyst Shirley K. Boscov ($1-$124) Sharon & Clifford Brahmstadt Elaine M. Balkiewicz Fred Chow Judy Ballinger Dr. & Mrs. Thomas Dooley Cathy & Brad Bower Robert & Susan Evatt Paul & Margaret Brass, in memory of John T. Fidler William H. Lord, M.D. William & Andrew Franklin Frank & Anne Civitarese, in memory of Dr. Sarel P. Fuchs William H. Lord, M.D. Madelyn Fudeman C. Harold Cohn, M.D. & Rebeca Chick Grete & Stanley Furrow VADM Daniel L. Cooper, USN (ret) in E. B. Gaul memory of Jeri Kozloff Matthew Goldstan Amy, Frank, Lindsey & Ryan Daniele, in Dr. & Mrs. Stephen Gring memory of William H. Lord, M.D. Barry & Joanna Groebel Mrs. Lynn Donches Darryl S. Jeffries Benjamin & Jane Draper Mr. & Mrs. William G. Koch Terry & Marcia Duncan, in memory of Natalie Koehler, in memory of William H. Lord, M.D. Ollie Koehler Caroline K. Dunford Elsa Larese Raymond Edling Margarete Larese-Ortiz Ruth Eleanor Fetterman Pauline M. Lutostanski Diane L. Gaul The Mayrhofer Family John & Majida Gieringer, in memory of Mr. & Mrs. Paul L. Miller Kenneth P. Overly Diane S. Mongold, in memory of The Gieringer Family, in memory of William H. Lord, M.D. Najah Hannah Eric & Georganne Moyer Dr. Ann T. Gundry Carol O. Orts Allan Meyer Hasbrouck Rev. Thomas & Amy H. Reinsel Nancy Hemmerich Sharon M. Scullin & James S. Rothstein Carol Jones Melvin Sensenig J. Maxwell & Nancy Keller Sandra Sittler George & Susan Kershner, in memory of Reading Musical Foundation, in memory of William H. Lord, M.D. Jeri Kozloff David Tanner & Bruce Kimball Baruh Rodriguez & Margaret A. Thomas Virginia Knowles Susan Thomas Scheifley Johanna Larese Dr. Virginia Schulze-Johnson Carrie & Stephen Latman, in memory of Paul Schumann William H. Lord, M.D. Ellen, John, Timothy, & Rachel Shapiro, in Gary & Mary Lucchese memory of Jeri Kozloff Doris Luckenbill Robert Sharetts, in memory of Sicily Masciotti William H. Lord, M.D. Lisa S. Masi Nancy Stanton Barry & Anna Mast, in memory of Thomas & Amy Steffie, in memory of William H. Lord, M.D. William H. Lord, M.D. Sarah Mathew Francisco L. Tellez David McConnell Jim & Donnasue Thompson Ken Mongold Diana Tirion Dr. Randall Newnham Lindsay Tishberg, in honor of Judith Nichol John & Ellen Shapiro Nancy O'Neill, in memory of Kevin Wagner William H. Lord, M.D. Brenda Wagner Ms. Cynthia C. Phillips Glenys A. Waldman Benjamin & Katharine Randazzo, in memory Hermann & Brenda Winkler, in memory of of William H. Lord, M.D. Jeri Kozloff Gary Riegel, in memory of William H. Lord, M.D.

Join us for more of our Virtual Season

Merz Trio This concert is presented in memory of Benjamin F. Souders by Thomas B. Souders

Program Wolfgang Rihm: Fremde Szenen III Beethoven: Piano Trio in B-flat Major, Op. 97, “Archduke”

The Brentano String Quartet This concert is presented in memory of Jeraldine Kozloff

Program Schumann: Quartet in A minor, Op. 41, No. 3 Brahms: Quartet in A Major, Op. 51, No. 2

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Board of Directors 2020-2021 Haia Mazuz, President Suzanne Palmer, Esq., Vice President Ellen K. Shapiro, Secretary James G. Mathis, M.D., Treasurer John R. Pankratz, Ph.D., Immediate Past President David Hall Penelope P. Proserpi Robert P. Seesengood, Ph.D. Tony Veloz Neil A. Hoffman, M.D., Director Emeritus Thomas B. Souders, M.D., Artistic Director Shari Gleason-Mayrhofer, Executive Director

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The Friends of Chamber Music of Reading seeks to foster chamber music of the highest caliber, and to make these achievements of the human spirit accessible to persons young and old throughout the greater Reading community.

Goals (in support of the Mission) • Curating compelling concerts by eminent professional ensembles and cultivating ongoing relationships with these extraordinary musicians. • Offering a series of these concerts in a beautiful, acoustically rewarding space, without charge, to anyone who is interested, and creating the conditions for an informed and intimate dialogue between listeners and performers. • Bringing these artists into the schools of Berks County to educate and inspire the rising generation of musicians and music lovers. • Enlisting the passion and support of patrons young and old, great and small, who sustain this Mission.